The same method as the work for leaders, written for a person rather than a communications department.
Creative strategy. Positioning, formats, packaging and testing, for work that is good and unwatched.
Scripts. Research, structure and the script itself, sourced line by line and written in your voice.
Studio and filming. Our studio and crew, or the same crew on location, then the edit, the graphics and the cut-downs.
Alongside the work. Contract review, takedowns and commission-free brand deals: the part most agencies leave to you.
The programme. The studio's method, taught over twelve weeks on our equipment.
Training. Argument, sourcing and honest packaging, taught to creator teams and newsrooms.
Creative strategy
For people whose work is good and unwatched.
What we do
We start with the position: what the channel says that a viewer could disagree with, and who it is for. Then formats: the recurring shapes, how long they run, and what each one is for. Then packaging that describes the actual argument: hooks, titles and thumbnails. Then atomisation, the long piece cut into short ones by whoever built the argument. Then structured testing, one variable at a time, judged on a stated measure.
What you do
Keep publishing while we work, give us access to your analytics, and be willing to drop a format that tests badly.
How it is priced
Per engagement for positioning and formats with a defined end, or monthly when we work the cycle with you every week.
Scripts
The argument settled on the page before anyone turns on a camera.
What we do
Research first: the filing, the transcript, the original study, kept in Trace so every claim in the script can be traced to where it came from. Then the structure: the claim, the evidence and the order they come in. Then the script, written with you and read aloud until it sounds like you talking rather than reading, with the opening written last, for what the piece actually argues.
Long pieces, the short ones cut from them, and series written as a run so each episode sets up the next. Adapted rather than translated for Hindi and Kannada.
What you do
Bring the subject and what you actually think about it, read every draft aloud, and tell us where it stops sounding like you.
How it is priced
Per script, quoted before we start, or monthly alongside the strategy work.
Studio and filming
Shot in a room we own, by the people who built the argument.
What we do
Filming days in our studio in HSR Layout, treated for sound, with three cameras, a four-microphone table and a teleprompter, a second set for interviews and a producer in the room. Talking head, interview, podcast and short documentary, or the same crew on location when the piece needs to be shot somewhere.
Then the edit, graphics and charts that carry a sourced figure, subtitles in English, Hindi and Kannada, and the long piece cut into short ones that each make one point. For a channel with no presenter, we make it end to end: research, script, voice, edit and publishing cadence.
What you do
Arrive with the script settled and read through. We book the day around the argument, and we do not rent the room without the crew.
How it is priced
By the day for a shoot, crew included, with editing priced by the finished minute. A channel with no presenter is priced per video or on a monthly volume.
Alongside the work
What most agencies leave to you.
Most agencies hand over the video and stop there. The contract a brand sends, the reupload on someone else's channel and the deal priced on follower count are left to you. We take those on as well, as an add-on to the work above or on their own.
What we are not
We are not a management company and we take no cut of your channel. We read contracts commercially: what a clause costs you, and what to ask for instead. Where something needs a practising advocate, we refer it out and say so at the time.
Rights
What you own, what a brand is actually buying, and what the contract in your inbox gives away.
What we do
Rights and licensing, stated plainly: what you own, what you are licensing, for how long, in which territory, on which platforms, and whether it is exclusive.
Contract review before you sign, for brand deals, agency and management agreements, platform and publisher contracts, and collaboration splits. You get a marked copy: what each clause costs you, what to ask for instead, and which points are worth losing the deal over.
Takedowns and platform escalations when your work is reuploaded, with repeat infringers tracked. Reuse guidance under Indian law, whose fair dealing is a narrower list of purposes than American fair use. Risk review before you publish something about a named person or company.
This is commercial and risk review. Where something needs a practising advocate, we refer it out and tell you at the time.
What you do
Send the whole contract before you sign, including the schedules, where the usage terms usually sit. For a takedown, send the original files and the dates you published.
How it is priced
Per review, quoted before we start, or a small monthly retainer where takedowns are continuous.
Brand deals
Matching, deal structure, and disclosure done properly.
What we do
We match on argument and audience rather than reach: what a creator actually persuades people of, and whether that is what the brand needs said. We structure the deal: fee against usage, the window, the territory, exclusivity, and what happens if the brand wants to run the piece as an advertisement later. Disclosure is written into the brief, the caption and the video, in the form the platform requires.
Who pays us
The studio is paid by the creator, as a flat fee agreed before we approach anyone, and takes no commission from the brand. If a brand engages us directly to find creators, we tell the creators so in the first message.
What you do
Tell us your floor before we start, send the brief and the contract together, and expect to turn down deals that pay well and cost you the audience.
How it is priced
A flat fee per deal, agreed in advance and paid by the creator. No commission, no percentage, and no payment from the brand's side.
The programme
Our method, taught. Twelve weeks in which early creators learn to build and defend an argument on camera, on our equipment, to the standard we publish at.
What is taught
Argument construction: what a claim is, what evidence is, and how the two are joined. Research and sourcing: finding the filing, the transcript and the original study, and keeping the record. You use Trace throughout, and you keep your archive when you leave. Logic and critical thinking, including how an audience decides what to believe. Then the craft: honest packaging, on-camera work in the studio, and editing your own pieces.
How it runs
Twelve weeks, in a cohort of eight, two evenings a week in the studio. You publish a piece every fortnight, and in the last four weeks you build one full argument of ten minutes or more. If it meets our standard, we publish it on our platforms with your name on it. If it does not, we tell you exactly why.
Who it is for, and what it costs
Creators with fewer than ten thousand followers. Apply with a link to something you have made and two hundred words on what you would argue. The fee is on request, and two places in each cohort are free, chosen on the application rather than the follower count. It is a course, not a route to a job at the studio.
The full list
Everything under Creators: the work first, then what comes alongside it.
Creative strategy
- PositioningWhat your channel says that a viewer could disagree with, and who it is for.
- Format developmentThe recurring shapes your work takes, how long each one runs and what each one is for.
- Channel architectureHow long-form, shorts and posts fit together, so each one sends people to the others.
- Packaging: titles, thumbnails, hooksPackaging that describes the actual argument, so the right viewers click and then stay.
- Structured testingOne variable at a time, judged on a measure stated in advance, so you learn what actually worked.
- Content audit and growth diagnosticA read of everything you have published and its analytics, with the reasons good work is not being watched.
Scripts
- Research and sourcingEvery script starts from the filing, the transcript or the original study, kept in Trace so each claim can be traced to where it came from.
- Structure and argumentThe claim, the evidence and the order they come in, settled before a line is written for camera.
- Scripts in your voiceWritten with you and read aloud until it sounds like you talking rather than reading.
- Hooks and openingsThe first lines written for what the piece actually argues, so the viewers who stay are the ones it was made for.
- Series and episode planningA run of episodes written together, so each one sets up the next.
- Short-form scriptsForty to ninety seconds that make one point and send the viewer back to the whole.
- LocalisationScripts adapted rather than translated into Hindi and Kannada, so the argument lands in the audience's own idiom.
Studio and filming
- Studio days with the crewOur room in HSR Layout with three cameras, a four-microphone table and a teleprompter, and a producer in the room.
- Talking head and to-camera piecesOne person making a case to camera, lit and miked for it.
- Interviews and podcastsUp to four people at the table, with a second set for interviews.
- Location filmingThe same crew where the piece needs to be shot, rather than in the room.
- EditingCut by the people who built the argument, so the edit keeps the point the script was making.
- Graphics, charts and subtitlesTitle cards, charts that carry a sourced figure, and subtitles in English, Hindi and Kannada.
- AtomisationThe long piece cut into short ones by whoever built the argument, each making one point.
- Faceless channels, end to endA channel with no presenter: research, script, voice, edit and publishing cadence, on an agreed number of videos a month.
Rights and contracts
- Rights and licensing mappingWhat you own, what you license, for how long, in which territory and on which platforms, written down plainly.
- Brand deal contract reviewA marked copy before you sign: what each clause costs you, what to ask for instead, and what is worth losing the deal over.
- Agency and management contract reviewWhat an agency or manager takes, for how long, and what you can no longer do once you have signed.
- Platform and publisher agreementsThe terms a platform, network or publisher puts on your work, read for what they quietly take.
- Collaboration and revenue splitsWho owns a joint piece, who earns from it and for how long, agreed before the work is made.
- Copyright takedownsNotices filed when your work is reuploaded without permission, backed by your original files and publishing dates.
- Platform escalationWhen a claim stalls in the automated system, taking it to the people at the platform who can act on it.
- Repeat-infringer trackingA record of the accounts that keep reuploading your work, so each new notice is quicker and harder to ignore.
- Reuse and fair dealing under Indian law, which is narrower than United States fair useWhat you can quote, clip or reuse for review, criticism or reporting under India's shorter list of permitted purposes.
- Defamation risk review before publishingA read of anything you say about a named person or company, for what could be challenged, before it goes out.
- Intellectual property registrations, through a separately registered agentTrade mark and other registrations are filed by a separately registered agent. We pass the work on and take no fee for it.
- Referral to a practising advocate where one is neededWhen a matter needs an advocate, we say so at the time and refer you to one, and take no fee for the referral.
Brand deals
- Brand matchingMatched on what you actually persuade people of, and whether that is what the brand needs said, rather than on reach.
- Deal structuringThe fee against usage, the window, the territory, exclusivity, and what happens if the brand later runs the piece as an advertisement.
- Rate benchmarkingWhat comparable creators are paid for comparable usage, so your floor is set on evidence.
- Disclosure compliance as standardDisclosure written into the brief, the caption and the video, in the form each platform requires.
- Campaign managementBriefs, drafts, approvals and deadlines handled between you and the brand, so nothing is lost in email.
The programme
- Argument constructionWhat a claim is, what evidence is, and how the two are joined.
- Research and sourcingFinding the filing, the transcript and the original study, and keeping the record in Trace, which you keep when you leave.
- Logic and critical thinkingHow arguments fail, and how an audience decides what to believe.
- Packaging craftTitles, thumbnails and hooks that are honest about what the piece argues.
- On-camera work and editingMaking a case to camera in the studio and cutting your own pieces, with a piece published every fortnight.
- Studio and equipment accessTwo evenings a week in our studio, on our cameras, lights and sound, for twelve weeks.
Where to start
A channel. Send a link and one line on what it argues.
A piece to make. Send the subject, what you think about it, and when you would like to film.
A contract. Send the whole thing, schedules included, before you sign. The review is quoted before we start.
The programme. Send a link to something you have made and two hundred words on what you would argue.
We reply within two working days, and if the answer is no we say so in writing.